But when I’m ready to move to the finishing stage, I will duplicate that sequence to create a “final version” and clean that one up. I will have multiple dialogue clips on a few tracks with some disabled, depending on microphone or take options. I may have multiple music cues on several tracks with only one enabled – just so I can preview alternates for the client. Like most editors, while I’m working through the stages of rough cutting on the way to an approved final copy, I will have a somewhat messy timeline. Then adjust clip volume for the two timeline clips. One would be set to the boom for both channels and the other set to only the lav for its two channels. If you want to blend both mics together, then you will need to duplicate (option-drag) the audio clip onto an adjacent timeline track, and change the audio channel configuration for both clips. So, both left and right output will either be the boom or the lav, but not both. When you do that, it’s still a stereo clip, however, both “sides” can be supplied by either one of the two source channels. To pick only one mic, you will need to change the clip’s audio configuration. If the source clip ends up in the sequence as a stereo clip, then you will want to determine which one of the two mics you want to use for the best sound.
Or you can blend the two using clip volume levels. When it’s dual-mono, you can listen to one track versus the other, determine which mic sounds the best, and disable the clip with the other mic. However, if the clip is treated as stereo, then it will only cut over to track 1 of your sequence – and the sound will stay left and right on the output to your speakers. If your source clip is treated as dual-mono, then the boom and lav will cut over to track 1 and 2 of your sequence – and the sound will be summed in mono on the output to your speaks. Let’s assume that you aren’t going to make any browser changes and instead just want to work in your sequence. You can change one or more source clips from stereo to dual-mono in the browser, but you can’t make that same type of change to a clip already in your sequence. Browser changes will not alter the configuration of clips already edited to the timeline. There are two ways to fix this – either by changing the channel configuration of the source in the browser – or by changing it after the fact in the timeline.
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In our dual-mic scenario, panning the clip or track full left means that we only hear the boom coming out of the left speaker, but nothing out of the right. Instead, it increases or decreases the relative volume of the left or right half of this stereo field.
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Panning in Premiere Pro doesn’t “shift” the audio left, right, or center. Which one it is will strictly depend on the device used to generate the original recordings.įirst, when dual-mic recordings appear as stereo, you have to understand how Premiere Pro deals with stereo sources. If you recorded a boom mic on channel 1 and a lavaliere mic on channel 2, then these will drop onto your stereo timeline either as two separate mono tracks (Alexa) – or as a single stereo track (C100), with the boom coming out of the left speaker and the lav out of the right.
a Canon C100) or multi-channel mono (e.g. Depending on the camera model, Premiere Pro will see these source clips as having either stereo (e.g. Start with your camera files or double-system audio recordings. Let’s walk though that process.ĭealing with multiple channels on source clips Bear in mind that I can – and often have – done such a mix in Apple Logic Pro X or Adobe Audition, but the tools inside Premiere Pro are solid enough that I often just keep everything – mix included – inside my editing application. It’s easy to do the mix inside of the NLE. On the other hand, a lot of my work is cutting simple commercials and corporate presentations for in-house use or the web, and these are often less demanding – 2 to 8 tracks of dialogue, limited sound effects, and music. Then I get the mix and split-tracks back, drop them into my Premiere Pro timeline, and generate master files. Typically that means sending them an OMF or AAF to mix in Pro Tools.
When budgets permit and project needs dictate, I will send my mixes out-of-house to one of a few regular mixers.
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